“So magazines like Encounter, they were created in Paris, they were created in Italy, they were created all over Europe; and then they spread to the Nordic countries, they spread to the Third World. What they did was they involved people at different levels. So the people in the know would be people who were editors and regular contributors, and it would even for them be kind of an open secret. So one person I interviewed was a guy named Nelson Aldrich, and he collaborated first—well, he worked for, I should say, first with the Paris Review.The Paris Review was not one of those magazines created by the CIA, or if it was, it was sort of indirectly used. It was used as Peter Matthiessen, the writer who was one of its founders, as his cover in Paris in the early fifties. But then he says he resigned from the CIA and there was no connection. Well, later on, George Plimpton, the famous writer and man about New York, was the public face of the Paris Review through its formative years and for many decades; he found a way to get CIA money through the Congress for Cultural Freedom, its cultural propaganda front. So that’s a second tie. Later on in my research, I found a third tie through a founding managing editor. So you have such a vast network of money for culture that in one organization, one magazine that’s sort of only a tangential CIA asset or friend, you can find three big separate ties.”